Curriculum Vitae


BORN: 1981, Salem, OR



2006-2009 M.A., M.F.A., University of Wisconsin-Madison, WI

2000-2004 B.F.A., Pacific Northwest College of Art, Portland, OR

2003 Studio Art Centers International, Florence, Italy – Study abroad



2017 Paintings, Augen Gallery, Portland, OR 

2016 Sublime Crush, Augen Gallery, Portland, OR

2015 New Aurora Works, Providence Hospital, Portland, OR

2015 New Work: Heather Goodwind and Kendra Larson, Lower Columbia College, Longview, WA

2014 Moths and Malheur, Oranj Studios, Portland, OR

2013 Mushrooms, Fish Bowl Project, Blackfish Gallery, Portland, OR

2013 Taking Shape, Window Project, PDX Contemporary, Portland, OR

2013 Sometimes a Great Notion, Mt. Hood Community College, Portland, OR

2012 Avery, RACC Installation Art Series, Portland, Building, Portland, OR

2012 The Geography of Phenomena, Roger W. Rogers Gallery, Willamette University, Salem, OR

2012 Visions in the Landscape, Minthorn Art Gallery, George Fox University, Newberg, OR

2011 Glass Lakes, Half Dozen Gallery, Portland, OR

2011 Oregon Romanticism, Helzer Art Gallery, PCC Rock Creek Campus, Portland, OR

2011 In The Pines, Launchpad Gallery, Portland, OR'

2010 Rogue Region, Blackfish Gallery, Fishbowl Window Project, Portland, OR

2010 The Cave, Half Dozen Gallery, Front Porch Project, Portland, OR

2010 Recent Work, Orlo, Portland, OR

2009 Hideaway, Valentine's, Portland, OR

2009 Signal-Scapes and Afflicted Animals, Common Wealth Gallery, Madison, WI

2008 New Work, Madison Municipal Buildings ARTSpace, Madison, WI

2008 Forts, Hideouts, and the Conifer Projects, The Knapp House, Madison, WI

2006 The Sky, Aratoi-Wairarapa Museum of Art and History, Masterton, New Zealand



2017 Solastalgia, an international traveling group exhibit: PCC Sylvania, Iceland, South Africa, Chicago, New York

2016 Aratoi Museum of Art and History, Masteron, New Zealand 

2016 Work will be featured in season six of the TV show Portlandia 

2015 Salon Salon, Pataphysical Society, Portland, OR

2014 Fall National Juried Exhibition, Marin Museum of Contemporary Art, Novato, CA 

2014 The Big Subject, The Arts Center, Corvallis, OR

2014 Manipulated View, University of Nevada, Reno, NV

2013 Other Worlds, Milk Factory Gallery, Chicago, IL

2013 Free People: Contemporary NW Painters, Gallery Homeland, Portland, OR

2013 Free People: Contemporary NW Painters, Jacobs Gallery, Eugene, OR

2013 Wood Anniversary: Five Years of Signal Fire, The Art Gym, Marylhurst University, Marylhurst, OR

2013 Resumo, Nisus Gallery, Portland, OR

2012 True Places, Swarm Gallery, 

2011 Magic > Nature, False Front Gallery, Portland, OR

2011 Fresh Air, A Regional Juried Art Exhibition, Boise State University, ID

2010 Bid at Bunyan: Disjecta's 4th Annual Art Auction, Portland, OR

2010 Newer Shades of Green,: 5 Painters and Their Divergent Landscapes, Hoffman Gallery, Lewis and Clark College 

2010 New Work, two person exhibit, Gallery Homeland, Portland, OR

2009 University of Minnesota's 2009 North American Graduate Art Survey, Nash Gallery, Minneapolis, MN

2008 In Cahoots, Overture Center for the Arts, Madison, WI

2008 The Contemporary View: Midwest Landscapes, Domont Studio Gallery, Indianapolis, MN

2007 Influx, Overture Center for the Arts, Madison, WI

2006 Portrait Show, Hall Gallery, Portland, OR

2006 Scratching the Surface, Gallery Homeland, Portland, OR



2011 Signal Fire Retreat,,OR

2006 New Pacific Studios, Masterton, New Zealand

2005 Caldera Arts, Sisters, OR



2012 Regional Arts and Culture Council, Portable Works Collection, Portland, OR – Purchase Award

2012 George Fox University, Newberg, OR – Purchase Award

2011 Oregon Department of Forestry, John Day, OR – Purchase Award

2008 M.F.A. Fellowship Nominee, Dedalus Foundation, New York, NY

2008 Lois G. Roberts Scholarship, University of Wisconsin-Madison, WI

2007 Edith L. Gilbertson Scholarship, University of Wisconsin-Madison, WI

2006 Regional Arts and Culture Commission (RACC) Professional Development Grant



2016 Whanganui Chronicle, New Zealand, December 7, 2016

2016 Wairarapa Times-Age, New Zealand, January 5, 2016 

2015 “Portland artists showcase contrasting styles at LCC Art Gallery,” The Daily News, Longview, WA, January 2015 (illustrated)

2013 “Wood Anniversary,” The Oregonian/Oregonian Live, March 2013

2012 Art Ltd. Magazine, September 2012,

2012 East Bay Express, August 2012,

2011 Saatchi Magazine,

2011Three Fifty Five, London UK, September 2011,

2011 Madison Magazine, May 2011,

2010 The Bear Deluxe, No. 30, Portland, OR

2010 Submit Magazine, No. 1 and No. 2, PNCA, Portland, OR

2008 “The Project Lodge: Art meets music,” by Tom Lasking, The Isthmus, February 8, 2008



2015-present Adjunct Professor, Pacific University, Forest Grove, OR

2014-present Instructor, Sitka Center for Art and Ecology, Lincoln City, OR

2013-present Adjunct Professor, Pacific Northwest College of Art (PNCA), Portland, OR

2012-present Adjunct Professor, Portland State University, Portland, OR

2010-2012 Adjunct Professor, Willamette University, Salem, OR

2010-present CE Instructor, Pacific Northwest College of Art (PNCA), Portland, OR

2009-2011 Teaching Assistant, Printmaking, Pacific Northwest College of Art, (PNCA) Portland, OR

2010-2011 Guest Lecturer, George Fox University, Newberg, OR

2007-2009 Adjunct Professor, University of Wisconsin-Madison



2015 Mentor, Prequel Artist Incubator, one season

2012-2015 Auction Committee Member, Disjecta Art Center, Portland, OR

2012-2015 Mural Selection Committee, Regional Arts & Culture Commission, Portland, OR

2012-2013 Curator, Vestibule Gallery, Disjecta Art Center, Portland, OR

2011-2015 Exhibition Director and Board Member, Orlo, Portland, OR

2007-2009 Gallery Director, The Project Lodge, Madison, WI

2007-2009 Grant Committee Member, Dane County Cultural Affairs Commission, Wisconsin


My work seeks to depict landscapes that maintain a reverence for the history of painting, but ultimately give contemporary voice to our understanding of place. Landscapes can speak to power, commodity, Romanticism, nostalgia, allegory, fear, and wonderment. While they are rich in complexity, the idea of a landscape is malleable. In other words, mankind defines and impacts nature. Our depictions of place and ideas of beauty reflect that. As the painter Gerhard Richter once wrote, “Every beauty we see in landscape – every enchanting color effect, or tranquil scene, or powerful atmosphere, every gentle linearity or magnificent spatial depth or whatever – is out projection; and we can switch it off at a moment's notice, to reveal only the appalling horror and ugliness.”My most recent series of nineteen paintings created between January and December 2015 explores this malleability by connecting real places and transforming them into imagined ones.

Until recently, I have felt obligated to depict real locations, feeling as though I owed nature truthful observational representationalism. Like the Romantic painters, I felt in awe of the sublime and wanted to ride that wave of beauty. This new series is my attempt to break free from depicting specific places and to see what creating “real-simulated” images might bring to the conversation about art and ecology. Borrowing a collage aesthetic creates abrupt connections, subtle perspective shifts, and challenges the traditional idealization of nature. My work often playfully depicts natural phenomenon. At the same time, there is an underlying brooding darkness and mystery. I feel like I have succeeded if my work balances that duality.

This series is a reaction to the contemporary practice of framing, constructing, and deconstructing the landscape: humankind’s marks on the land. My paintings are constructed places and, in turn, remind the viewer that landscape paintings rely on human definition. Our hopes and fears help define which landscape is desirable and which is not. These ideas of perception and constructing realities are at the heart of this series.

(For pricing information or a more complete cv please email me at This email address is being protected from spambots. You need JavaScript enabled to view it. )


The first thing Kendra Larson learned to draw was conifer trees when she was seven. It was with her mom on a hike just north of Seattle. The air was crisp and it smelled like pines. There were mushrooms and slugs hiding in plain sight. Her mom showed her how to make the tree trunks darker on the sides to make them look cylindrical. Taking the time to observe the shadow shapes, Kendra worked the graphite to a stub. Larson was born in Salem, Oregon and lived there until she was eighteen. She moved to Portland and received her BFA from the Pacific NW College of Art and, following a residency at Caldera in Sisters Oregon, she began drawing large scale, charcoal landscapes. Full of awe and Romanticism, these drawings depicted the haunting mood and regenerative qualities of burnt forests. In 2006, she attended a residency in New Zealand, a land that was clear cut to make way for farming. These stark rolling hills gave her a better appreciation for how nature is understoodin the Pacific Northwest: a balance between treating the woods as a recreational treasure, spiritual beacon, and economic commodity.


Later that year, Kendra moved to Madison, Wisconsin for graduate school. She quickly became homesick for the dewy NW air and the undulating mountainous horizon. Making images of her home made her feel better and that nostalgia was woven into her work. While at UW, Kendra taught undergraduates how to draw from observation and excited in them an interest in art. She also opened an art gallery called the Project Lodge. Juggling her painting, teaching, and the gallery was a challenge that, in the end, helped Larson develop a strong studio practice. Her thesis work consisted of forest paintings and painterly sculptures of woodland creatures. The work played up themes of mystery, fear, and myths tied to the wilderness.


In 2009, she received her MFA in Painting and Drawing and returned to Oregon. Kendra married Christopher Buckingham in 2010 at Silver Falls State Park. Today, they live in NE Portland with their dog. Kendra is active in the art community; she’s part of a painting collaborative, an adjunct art professor, a volunteer at Disjecta Art Center, a committee member at RACC, and a board member of Orlo. Her artwork continues to depict the northwest pines and mushrooms, but with a perspective of someone that has been away. As the saying goes, distance makes the heart grow fonder. Her paintings, formally speaking, balance painterly, expressionistic brush strokes with hard-edge illustrative elements. Conceptually, these paintings are mysterious and playful. As Andres Fourie, a curator at Willamette University, wrote about her work: “The paintings seem to give flesh to the childhood fantasy that one could be the first human being to set foot in an unspoiled land.” Her work continues to push the perception of landscape paingint using the Pacific Northwest as a foundation. 


Larson’s work has been shown in venues including The Art Gym, The Arts Center Corvallis, PDX Contemporary, Augen Gallery, Blackfish Gallery, Hoffman Gallery (Lewis and Clark College), Rogers Gallery (Willamette University), and Minthorne Art Gallery (George Fox University). She has exhibited outside of Oregon in venues including the Swarm Gallery in (Oakland, CA), Milk Factory Gallery (Chicago, IL), Nash Gallery (Minneapolis, MN), Boise State University, Sheppard Contemporary (Reno, NV), Domont Studio Gallery (Indianapolis, IN), and Overture Center for the Arts (Madison, WI). Her artwork has appeared in publications such as The Bear Deluxe and Tree Sap Magazine.